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Cantatas (sacred) - Released September 21, 2018 | Phi

Hi-Res Booklet Distinctions 5 de Diapason
For the fourth time on the Phi label, Philippe Herreweghe presents three cantatas by Johann Sebastian Bach – Christ lag in Todesbanden, BWV 4, Gott der Herr ist Sonn und Schild, BWV 79, and Ein feste Burg ist unser Gott, BWV 80. Written at different moments in the composer’s life and based to a large extent on the works of Martin Luther, these cantatas reflect a marked taste for dramaturgy, vivid word painting and an invariably astonishing use of instruments and voices. Philippe Herreweghe and Collegium Vocale Gent give us an accomplished version of these masterpieces, confirming, if further proof were needed, their stature as ardent champions of Bach. © Outhere Music
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Cantatas (sacred) - Released June 22, 2018 | Ricercar

Hi-Res Booklet Distinctions 5 de Diapason
Most of the works presented here by the Clematis Ensemble and countertenor Paulin Bündgen come from the rich Düben collection held by the Uppsala University. In the 17th century, Gustaf Düben was kapellmeister at the Swedish court; he had mostly gathered manuscript scores of compositions from numerous German, French, Italian and Baltic authors. It is one of the largest sources of Lutherian repertoire of the 17th century, particularly as it contains numerous in unicum scores. Among the composers featured in this piece, some were Schütz’ successors or disciples, but it’s worth mentioning that the German composers of that time – particularly Schein, Franz Tunder (who was Buxtehude’s master) and Johann Fischer – were considerably influenced by Italian baroque. You’ll notice the presence of two Bachs on this album: Johann Michael (1648-1694) and Johann Christoph (1642-1703), two second-degree cousins of Johann Sebastian. Johann Christoph Bach’s Lamento − whom his cousin described as a “deep composer” – is without a doubt one of the best-known compositions of the sacred German repertoire of the time. Like in the entire repertoire, the role of strings remains essential. This sacred piece relies on the text’s numerous descriptive effects, like a “painting in musical form”: the sharpest terms (crying, sighing, sinking…) are underlined by similar vocal and instrumental effects. This Lamento is without a doubt the perfect example of the aria à da capo form that Johann Sebastian Bach so frequently used in his sacred works. This vocal music programme is accompanied by a few instrumental pieces that can be assimilated to church music. © SM/Qobuz
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Cantatas (sacred) - Released May 25, 2018 | harmonia mundi

Hi-Res Booklet Distinctions 5 de Diapason
Bach's "Dialogue Cantatas" generally portrayed Jesus in dialogue with the human soul, first tormented and then at peace. The three cantatas selected here by Berlin's Akademie für Alte Musik Berlin, which has, over the years since 1982 (with over a million records sold!) brought together musicians from the city's different orchestras – first those under Soviet rule and then all orchestras following the fall of the Wall – are a part of this genre; all date from the great Leipzig period, specifically the third cycle written by Bach for Leipzig in 1726. It will come as no surprise, hearing these cantatas, that the essence of the first arias is desperate, heart-rending: and as they go on, they move towards relief and joy. It is in these first moments that we see Bach at his most intense, most pained, most chromatic, terribly modern as well as at his most romantic, profoundly lyrical and yet rigorous in the musical discourse. The most superbly original piece is surely the Cantata BWV 49, which begins with a Sinfonia with obbligato organ – in which the listener will recognise the final movement of the Harpsichord Concerto in E Major, when Bach recycled it a dozen years later – and continues with an aria with cello and oboe, both soloists immersed in the soprano's joyous voice; and we finish on a magnificent chorale with an aria – the aria being for the bass of the solo organ, while the soprano part sings the chorale's theme from on high: a staggering display of modernity. © SM/Qobuz
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Cantatas (sacred) - Released April 20, 2018 | Audax

Hi-Res Booklet Distinctions 5 de Diapason
Continuing their research into the vast hinterland of German cantatas from the early baroque period, Johannes Pramsohler and the musicians of his excellent Diderot Ensemble here dive into the austere and strange music of Biber, but also the less-well-known works of Johann Christoph Bach, great uncle of Johann Sebastian and musicians like Pachelbel, Bruhns and Eberlin. Johannes Pramsohler brings a particular fire and mystical sensuality to this new album (heavenly and earthly delights never being so far apart), and intense celestial flights to his violin playing. A range of international singers have left behind opera and dived with staggering ease into a completely different repertoire. The architects of this success, the supply and airy voice of the Canadian mezzo Andrea Hill, the perfectly gloomy timbre of Spanish tenor Jorge Navarro Colorado and the dark colours of the Argentine bass Nahuel di Pierro, sound the depths of this music driven by a great piety. © François Hudry/Qobuz
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Cantatas (sacred) - Released February 16, 2018 | Mirare

Hi-Res Booklet Distinctions Gramophone Editor's Choice - Diapason d'or / Arte
The cantata Jesus nahm zu sich die Zwölfe (Jesus gathered the twelve to Himself) BWV 22, holds a historic place in Bach’s work. Indeed he composed it while still in Köthen, as an audition piece for the position of Thomaskantor in Leipzig, and then conducted it on February 7th, 1723, maybe even singing the bass part himself. Famously the city council, unable to convince its preferred composers – Telemann, Graupner and two others –, decided to settle with “mediocre” Bach… The gospel of the day first announces his death and his resurrection by Christ and his disciplines. A modest orchestra: voices, strings, one oboe and continuo, but the musical content is – like in almost all of Bach’s cantatas – amongst the best he’s ever written. For the same celebration, Bach composed a new cantata the following year, Herr Jesu Christ, wahr’ Mensch und Gott (Lord Jesus Christ, true Man and God) BWV 127. But it has almost nothing in common with the previous piece: here Bach offers a very impressive reflection on physical death. Throughout his cantatas he called for a blessed death to free himself from the vicissitudes of life on Earth, but this now reveals how much he may have feared physical death itself. The aria ”Die Seele ruht” is one of these sublime moments suspended in time, an ineffable tintinnabulum, in which the soprano and the oboe dialogue on a harrowing theme while the flutes and string pizzicatos symbolise the passing of time with incredible beauty. Finally it’s with Die Elenden sollen essen (The miserable shall eat) BWV 75 that Bach started off his work in Leipzig, in St. Nicholas Church this time, as the cantatas were alternately performed in both churches. Probably because he wanted to start with a bang, he designed this cantata on a huge scale: fourteen numbers, divided in two parts. Of course Bach would have never been able to produce such vast and powerful partitions on a weekly basis, but there is a real substance to this Passion… and it’s with great passion that Philippe Pierlot, his Ricercar Consort and the soloists perform these masterpieces. © SM/Qobuz
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Cantatas (sacred) - Released September 8, 2017 | Phi

Hi-Res Booklet Distinctions 5 de Diapason - 5 étoiles de Classica
For the third time on the Phi label, Philippe Herreweghe gives us the opportunity to (re)discover three cantatas by Johann Sebastian Bach – Nimm von uns, Herr, du treuer Gott, BWV 101, Ihr werdet weinen und heulen, BWV 103 and Mache dich, mein Geist, bereit, BWV 115. After two albums of cantatas written during the composer’s first year in Leipzig, the Belgian conductor and his Collegium Vocale Gent, orchestra and choir, will be performing three cantatas he composed during his second year as Kantor at St Thomas’s. The choir and vocal soloists are once again challenged to produce performances of subtlety and refined virtuosity, and the instrumentarium is as rich and colourful as those heard previously in this series. © Phi

Cantatas (sacred) - Released September 1, 2017 | PHI

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Cantatas (sacred) - Released April 21, 2017 | harmonia mundi

Hi-Res Booklet Distinctions Diapason d'or - Le Choix de France Musique - 5 Sterne Fono Forum Klassik
The three Bach cantatas presented on this album belong to the composer’s Weimar period (where he lived and worked from 1708 to 1717), written between 1711 and 1714. Bach was still a young composer then, but the full body of his artistry is already present, and one can but shake the head in disbelief: where did the fellow find the source of such intense emotion, such harmonic and melodic boldness? The beginning of "Weichet nur, betrübte Schatten" ("Yield now, troubling shadows") unfolds a succession of harmonies which seem to have no logical link with each other, some kind of non-tonality – this being the way the composer describes in music the aforementioned lugubrious shadows. Arias alternately heartbreaking and tender, instrumental inventiveness, you name it, Bach has it. Soprano Carolyn Sampson, accompanied by the Freiburger Barockorchester (together with baritone Andreas Wolf for the cantata "Tritt auf die Glaubensbahn"), lends her voice with dedication to the music, combining the teachings of historically informed performance with a solid sense of emotion, indispensable for such masterpieces. © SM/Qobuz

Cantatas (sacred) - Released February 24, 2017 | CPO

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Cantatas (sacred) - Released April 1, 2016 | harmonia mundi

Booklet Distinctions 4 étoiles de Classica
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Cantatas (sacred) - Released September 1, 2009 | Coviello Classics

Booklet Distinctions The Unusual Suspects
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Cantatas (sacred) - Released April 11, 2014 | Berlin Classics

Booklet Distinctions 5 de Diapason

Cantatas (sacred) - Released March 4, 2014 | Rondeau

Booklet Distinctions Diapason d'or
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Cantatas (sacred) - Released March 4, 2014 | Rondeau

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Cantatas (sacred) - Released January 28, 2014 | Phi

Hi-Res Booklet Distinctions Gramophone Editor's Choice - 4 étoiles de Classica - Exceptional sound - Hi-Res Audio
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Cantatas (sacred) - Released December 9, 2013 | Ad Vitam records

Cantatas (sacred) - Released December 2, 2013 | Accent

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Cantatas (sacred) - Released November 18, 2013 | Mirare

Hi-Res Booklet Distinctions 5 de Diapason - Hi-Res Audio

Cantatas (sacred) - Released September 24, 2013 | BIS

Booklet Distinctions Diapason d'or
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Cantatas (sacred) - Released August 6, 2013 | Fra Bernardo

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